Karel van Mander First biographer of Bruegel

WHAT DID  Karel van Mander WROTE ABOUT PIETER BRUEGEL THE ELDER?


In his 1604 work, Het Schilder-boeck (The Book of Painters), the Flemish biographer and artist Karel van Mander wrote a biography of Pieter Bruegel the Elder. Van Mander's account is a primary source of information about Bruegel, though its accuracy has been debated by art historians.

Key Points from Van Mander's Account
Apprenticeship and Influence: Van Mander states that Bruegel apprenticed under the painter Pieter Coecke van Aelst. He also mentions Bruegel's travels to Italy, noting that while there, he "swallowed" the mountains and "spat them out" onto his canvases—a vivid metaphor suggesting that Bruegel absorbed and transformed nature rather than simply imitating Italian art.

Peasant Scenes and "Funny Peter": Van Mander's biography is the source of the well-known story that Bruegel would disguise himself as a peasant to attend village festivals and fairs. This allowed him to observe and sketch the local people, whom he depicted in his famous peasant scenes like The Peasant Wedding and The Peasant Dance. Van Mander nicknamed him "Pier den Drol" or "Funny Peter," suggesting Bruegel's humorous and often satirical approach to his subjects.

Final Instructions: According to Van Mander, Bruegel, on his deathbed, instructed his wife to destroy certain drawings because of their "caustic" nature. This has led scholars to speculate that some of Bruegel's work contained strong political or religious critiques of the Habsburg rulers and the Catholic Church.

Van Mander's biography helped shape the traditional view of Bruegel as a country-loving artist who was a keen observer of peasant life. While modern scholarship has questioned some of Van Mander's anecdotes, his work remains a fundamental text for understanding Bruegel's legacy and his reputation in the decades following his death.








dID Karel van Mander KNEW BRUEGEL PERSONALLY?


No, it's highly unlikely that Karel van Mander knew Pieter Bruegel the Elder personally. Bruegel died in 1569, while van Mander, born in 1548, would have been around 21 years old at the time of Bruegel's death.

The information in Het Schilder-boeck (The Book of Painters), published in 1604, was likely compiled from various sources, including Bruegel's contemporaries, patrons, and possibly his wife, Mayken Coecke, who outlived him by many years. While Van Mander's biography is a crucial source for information about Bruegel, its reliability has been debated by art historians due to the biographical distance between the two men. The anecdotes van Mander provides, such as Bruegel disguising himself as a peasant, are often seen as part of a larger, myth-making effort to define Bruegel's artistic persona.



***



Мандер, Карел ван
Материал из Википедии — свободной энциклопедии
Карел ван Мандер
нидерл. Karel van Mander

Дата рождения 1548
Место рождения Мёлебеке
Дата смерти 11 сентября 1606
Место смерти Амстердам
Род деятельности историк искусства, художник, писатель, поэт, биограф, деятель изобразительного искусства
Логотип Викисклада Медиафайлы на Викискладе
Карел ван Мандер (нидерл. Karel или Carel van Mander; 1548, Мёлебеке[англ.] — 11 сентября 1606, Амстердам[1]) — поэт, писатель-историограф и живописец из Западной Фландрии, автор знаменитой «Книги о художниках» (Het Schilder-Boeck).


Содержание
1 Биография
2 Творчество
3 «Книга о художниках»
4 Галерея
5 Примечания
6 Литература
Биография
Карел ван Мандер родился в семье знатных родителей, которые дали ему французское имя Шарль (Charles), позднее ставшее более привычным в форме «Карл». Они также пригласили в 1568 году первого учителя гентского художника и поэта Лукаса де Хере. Их пути вскоре разошлись, поскольку де Хере был выслан из страны за связь с движением Реформации. После этого Ван Мандер поступил в ученики к Питеру Влерику в Кортрейке. В 1570 году ван Мандер вернулся в родной город Мёлебеке и посвятил себя драматургии и поэзии.

В 1573 году ван Мандер предпринял путешествие в Италию; он побывал во Флоренции, вместе с Джорджо Вазари работал над фреской купола собора Санта-Мария-дель-Фьоре. В Терни Мандер получил заказ на фреску на тему Варфоломеевской ночи в память об убитом Гаспаре де Колиньи. Эта фреска частично сохранилась до настоящего времени в галерее Палаццо Спада в Терни. В Риме ван Мандер познакомился и подружился с художником-маньеристом Бартоломеусом Спрангером и находился под его влиянием.

В 1577 году Мандер работал в Базеле, позднее переехал в Кремс и далее в Вену, где вместе с Хансом Монтом работал над созданием триумфальной арки по случаю прибытия в город в июле 1577 года императора Рудольфа II. Посетив Нюрнберг, истинный католик ван Мандер вернулся в родные края в 1578 году. Однако из-за религиозных преследований меннонитов несколько лет спустя ему пришлось бежать из Мёлебеке. Он, его родители и семья нашли убежище у Грауве Миннебродеров из Кортрейка, но война и болезнь вынудили его бежать снова. В 1583 году он прибыл в Харлем, где прожил последующие двадцать лет. Здесь вместе с голландским художником Корнелисом Корнелиссеном, рисовальщиком и гравёром Хендриком Гольциусом в 1587 году основал Академию художеств, или, как её позднее стали называть, Харлемскую академию маньеристов. В Академии, построенной по итальянскому образцу, изучали пластическую анатомию и рисовали с обнажённых моделей, в том числе женских, что в то время на Севере Европы было запрещено[2].

Ван Мандер прожил свои последние годы сначала в Хемскерке, близ Зевенбергена, а затем в Амстердаме. Он умер в возрасте пятидесяти восьми лет и был похоронен в доме на Рокине. Рассказывали, что перед смертью художник произнёс: «Когда придёт смерть и нет другого выхода, тогда лежи спокойно и умри»[3].

Учениками Карела ван Мандера в Харлеме были Франс Халс и Хендрик Герритс Пот. Сын Карела ван Мандера — Карел ван Мандер Второй (1579—1623), или Младший (de Jonge), стал живописцем. Внук, сын ван Мандера Второго, — Карел ван Мандер Третий (1610—1670) — также живописец, работал в Дании[4][5].

Творчество
Карела ван Мандера называют «Гуманистом Севера». Он много рисовал, писал стихи, прозу и создавал картоны шпалер для Франсуа Спиринкса[6]. Он является автором многих литературных произведений — поэтических аллегорий, од на латинском языке в подражание «древним». Ван Мандер изучал античную философию, перевёл на нидерландский язык «Илиаду» Гомера, поэмы Вергилия, Овидия.

В 1573—1577 годах Карел ван Мандер стал убеждённым романистом, в Вене он познакомился с уникальной художественной коллекцией — кунсткамерой императора Рудольфа II. Карелу ван Мандеру приписывается известная картина 1603 года «Бен Джонсон и Уильям Шекспир», на которой выдающиеся драматурги играют в шахматы. В Санкт-Петербургском Эрмитаже хранятся три картины Карела ван Мандера: «Избиение младенцев», «Деревенский праздник» и «Сад любви»[7].

«Книга о художниках»

Фронтиспис первого издания «Книги о художниках». 1604
В 1604 году Карел ван Мандер, вдохновлённый «Жизнеописанием наиболее знаменитых живописцев, ваятелей и зодчих» Джорджо Вазари, написал собственное произведение — «Книгу о художниках» (нидерл. Het Schilder-Boeck, буквальный перевод: «Книга живописи», или «Книга изображений») — первый искусствоведческий труд в Северной Европе. Эта книга, написанная на голландском языке XVII века, состоит из шести частей и считается одним из основных источников по истории искусства Северной Европы XV и XVI веков. Книга была очень хорошо принята и имела огромный успех во многих странах. Она издавалась в 1604, 1614, 1618, 1764 годах; на французском языке — в 1884, на немецком — в 1906, 1916, на английском вместе с факсимиле оригинала — в 1994—1997 годах, на русском языке — в 1940 году.

Карел ван Мандер умер через два года после первой публикации. Второе посмертное издание 1618 года включала краткую анонимную биографию автора. Первая часть этого выдающегося труда «Основы благородного и свободного искусства живописи» представляет собой стихотворное обращение к обучающимся. В нём ван Мандер не даёт конкретных практических рекомендаций, однако на высоком литературном уровне рассматривает основные принципы живописного искусства. Вторая часть книги называется «Жизнеописания прославленных древних художников, в том числе египтян, греков и римлян» (Het Leven Der oude Antijcke Doorluchtighe Schilders, soo wel Egyptenaren, Griecken als Romeynen). Третья: «Жизнеописания современных или современных выдающихся итальянских художников» (Het Leven Der Moderne, часто dees-tijtsche Doorluchtighe Italiaensche Schilders). Четвёртая: «Жизнеописания выдающихся нидерландских и немецких художников» (Het Leven der Doorluchtighe Nederlandtsche, en Hooghduytsche Schilders.). Биографические части содержат биографии античных живописцев и известных итальянских мастеров, например, Джотто ди Бондоне, Сандро Боттичелли и Андреа Мантенья. Далее представлены биографии нидерландских и немецких художников: Гертген тот Синт Янс, Рогир ван дер Вейден, Лукас ван Лейден, Иероним Босх, Альбрехт Дюрер, Ганс Гольбейн-младший и Питер Брейгель Старший, Артген ван Лейден, Корнелис Энгелбрехтсен.

В следующей части Карел ван Мандер приводит подробный комментарий к важнейшему источнику мифологических сюжетов голландской живописи — «Метаморфозам» Овидия. Последняя книга: «Об изображении фигур» содержит список различных животных, птиц и других объектов, которые имеют важное значение в работе художника. В эту часть включены описания некоторых языческих ритуалов, пригодных для использования в исторических аллегориях. Расположенный перед указателем к «Метаморфозам», этот раздел представляет собой дополнительное руководство ко всей книге[8].

Для своей книги ван Мандер заимствовал тексты Дж. Вазари, Плиния Старшего, использовал стихотворения нидерландского живописца, скульптора и поэта Доминика Лампсония и Лукаса де Хере. Сочинение ван Мандера представляет собой ценнейший первоисточник сведений о многих художниках Северного Возрождения, в том числе о нидерландских и немецких романистах, сведения о которых в других источниках отсутствуют[4].

Галерея
Зал Фаэтона. Росписи 1574—1577. Палаццо Спада, Терни
Зал Фаэтона. Росписи 1574—1577. Палаццо Спада, Терни
 
Аллегория Священного союза. Деталь росписей Зала Фаэтона
Аллегория Священного союза. Деталь росписей Зала Фаэтона
 
До Потопа. 1600. Медь, масло. Штеделевский художественный институт, Франкфурт-на-Майне
До Потопа. 1600. Медь, масло. Штеделевский художественный институт, Франкфурт-на-Майне
 
Великодушие Сципиона Африканского. 1600. Медь, масло. Рейксмюсеум, Амстердам
Великодушие Сципиона Африканского. 1600. Медь, масло. Рейксмюсеум, Амстердам
 
Сад любви. 1602. Холст, масло (переведено с дерева). Государственный Эрмитаж, Санкт-Петербург
Сад любви. 1602. Холст, масло (переведено с дерева). Государственный Эрмитаж, Санкт-Петербург
 
Бен Джонсон и Уильям Шекспир играют в шахматы (атрибутируется). 1603. Холст, масло. Частное собрание
Бен Джонсон и Уильям Шекспир играют в шахматы (атрибутируется). 1603. Холст, масло. Частное собрание
Примечания
 Karel van Mander. Netherlands Institute for Art History — RKD-artists. // https://rkd.nl/en/artists/52262
 Halsmuseum F. Haarlem, informatie bij de tentoonstelling De gouden eeuw begint in Haarlem, 2008
 Het leven van Henrick Cornelissen Vroom, Schilder van Haerlem Gearchiveerd op 27 maart 2023 [1]
 Власов В. Г., 1997. — С. 17
 Neues allgemeines K;nstler-Lexicon; oder Nachrichten von dem Leben und den Werken der Maler, Bildhauer, Baumeister, Kupferstecher etc. Bearb. von Dr. G. K. Nagler. — M;nchen: E.A. Fleischmann, 1835—1852
 Власов В. Г. Мандер, Карел фан // Стили в искусстве. В 3-х т. — СПб.: Кольна. — Т. 3. — Словарь имён, 1997. — С. 17. — ISBN 5-88737-010-6
 Государственный Эрмитаж. Западноевропейская живопись. — Каталог 2. — Л.: Искусство, 1981. — С. 144
 Duits Н. Het leven van Karel van Mander. Kunstenaarsleven of schrijversbiografie? // De zeventiende eeuw 9 (1993). — № 2. — Рр. 117—136 [2] Архивная копия от 7 сентября 2023 на Wayback Machine
Литература
H;cker, Rudolf. Das Lehrgedicht des Karel van Mander: Text, ;bersetzung und Kommentar, nebst Anh;ngen ;ber Manders Geschichtskonstruktion und Kunsttheorie, (Quellenstudien zur holl;ndischen Kunstgeschichte; Band 8), Haag 1916
M;ller, J;rgen, and Pragensis, Concordia. Karel van Manders Kunsttheorie im Schilder-Boeck. Oldenbourg, M;nchen, 1993. — ISBN 3-486-56015-8
Netherlands Institute for Art History — RKD-artists. / Karel van Mander // https://rkd.nl/en/artists/52262
Stanneck, Achim. Ganz ohne Pinsel gemalt. Studien zur Darstellung der Produktionsstrukturen niederl;ndischer Malerei im 'Schilder-Boeck' von Karel van Mander (1604), (Europ;ische Hochschulschriften, Reihe XXVIII Kunstgeschichte; Band 393), Bern/Frankfurt a.M. [u.a.] 2003. — ISBN 3-631-39497-7
Мандер, Карел ван. Книга о художниках = Het Schilder-Boeck : [пер. с ] / пер. с гол. В. М. Минорского под ред. Г. И. Фёдоровой. — СПб. : Азбука-классика, 2007. — 542, [1] с., [32] с. ил. — (Художник и знаток). — ISBN 978-5-352-02171-2.
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Karel van Mander

From Wikipedia, the free encyclopedia
Not to be confused with Karel van Mander the Younger or Karel van Mander III.
Karel van Mander

Portrait of van Mander from his book
Born May 1548
Meulebeke, Habsburg Netherlands
Died 2 September 1606 (aged 58)
Amsterdam, Dutch Republic
Education Lucas de Heere and Pieter Vlerick
Known for Painting, poetry, writing
Notable work Schilder-boeck (1604), several paintings
Movement Mannerism
Patron(s) Haarlem city council
Karel van Mander (I) or Carel van Mander I[1][2] (May 1548 – 2 September 1606) was a Flemish painter, playwright, poet, art historian and art theoretician, who established himself in the Dutch Republic in the latter part of his life. He is mainly remembered as a biographer of Early Netherlandish painters and Northern Renaissance artists in his Schilder-boeck. As an artist and art theoretician he played a significant role in the spread and development of Northern Mannerism in the Dutch Republic.[3]

Life
Most of the information about Karel van Mander's life is based on a brief and anonymous biographical sketch included in the posthumous second edition of the Schilder-boeck published in 1618 by Jacob Pietersz Wachter. It is not certain who wrote this biographical sketch with the title t Geslacht, de geboort, plaets, tydt, leven, ende wercken van Karel van Mander, schilder, en poeet, mitsgaders zyn overlyden, ende begraeffenis (The lineage, birth, place, time, life, and works of Karel van Mander, painter and poet, including his death and burial). Various candidates have been proposed including his brother Adam van Mander and the author Gerbrand Adriaensz. Bredero. It has been argued more recently that his son Karel van Mander the Younger was the author of the biographical. He would have relied on biographical information that Karel van Mander had written himself as well as on his own recollections and notes. The information in the biographical sketch is not entirely reliable but is still regarded as the best source of information on van Mander's life.[4]


Portrait of a man, Kunsthistorisches Museum
Van Mander was born into a noble family in Meulebeke, in the County of Flanders. He studied under Lucas de Heere in Ghent. De Heere was a versatile artist who was painter, watercolorist, print artist, biographer, playwright, poet and writer. During the period 1568-1569 van Mander studied with the painter Pieter Vlerick in Kortrijk. The next five years he was less occupied with painting than with the writing of religious plays for which he also painted the scenery. He built quite a reputation in Flanders with his theatre productions.[4]

In 1573 he travelled to Rome in the company of some young nobles. He stayed in Rome for more than three years. There he was active as a painter and became acquainted with patronage. For the Italian count Michelangelo Spada he made some frescoes with scenes of the Parisian blood wedding of 1572 in the Palazzo Spada in Terni. He also received commissions for frescoes with landscapes from several cardinals. He studied and became proficient in the painting of grotesques during his Roman residence.[4]

His biographical sketch refers to van Mander as the discoverer of "caves" in Rome. This may be a reference to the Catacombs of Rome although the exact meaning of the reference is unclear. In Rome he may also have come into contact with fellow Flemish painter Bartholomeus Spranger, who left Rome in 1575 for Vienna to enter into the service of the emperor. On his return journey he passed through Vienna, where, together with Spranger and the sculptor Hans Mont, he made the triumphal arch for the royal entry of the emperor Rudolf II.[4]


The adoration of the golden calf, Frans Hals Museum
Van Mander settled back in his native Meulebeke in 1578 where he was active as a painter and writer. He married an 18-year-old local girl, with whom he had a son. In 1580 he left for Kortrijk due to religious troubles caused by Catholic zealots in Meulebeke.[4] Karel van Mander had at some point become a Mennonite and was therefore a possible target of these zealots.[5] In Kortrijk he got a commission for an altar piece. In Kortrijk another son was born. He left Kortrijk for Bruges in 1582 because of an outbreak of the plague and other reasons. In Bruges, he worked with the painter Paul Weyts. Because of the threat of religious troubles and the plague, Karel fled with his family and his mother-in-law by ship to the Dutch Republic where he settled in Haarlem in the province of Holland in 1583.

Here he worked for 20 years on a commission by the Haarlem city fathers to inventory "their" art collection. The city of Haarlem had confiscated all Catholic religious art after the satisfactie van Haarlem, which gave Catholics equal rights to Protestants, had been overturned in 1578. Van Mander used his work on the commission in his "Schilder-boeck". While in Haarlem he continued to paint, concentrating his energy on his favourite genre: historical allegories. In 1603 he rented a fortified manor ("het Huis te Zevenbergen"), later renamed Kasteel Marquette in Heemskerk to proofread his book that was published in 1604. He died soon after it was published in Amsterdam at the age of 58.

Haarlem Mannerists

Garden of Love, 1602, Hermitage Museum
Karel van Mander was the founder, together with Hubertus Goltzius and Cornelis van Haarlem, of an "academy to study after life". It is not entirely clear what this academy did but it is believed it was an informal discussion group which may have organised drawing classes with life models. It has also been claimed that the nature of the academy was more of a literary nature.[4]

He had an important impact on art in the Dutch Republic when in 1585 he showed his friend Hendrick Goltzius drawings by Bartholomeus Spranger. Spranger was then the leading artist of Northern Mannerism and was based in Prague as the court artist of emperor Rudolf II. These drawings had a galvanising effect on Goltzius whose style was influenced by them. Goltzius made engravings of the drawings which were important in disseminating the Mannerist style. Van Mander, Goltzius and Cornelis van Haarlem became known as the "Haarlem Mannerists" and artists from other towns joined the movement. Their pictorial language was characterised by a strong awareness of style and cultivated elegance. They strove for artful ingenuity rather than naturalism. They also had a preference for depicting exaggeratedly brawny musclemen, violent drama, wild fantasy and a heightened richness of detail. The dissemination of the engravings of Goltzius went hand in hand with the new practice of art theorisation that was new to the 16th century and in which Karel van Mander played an important role.[6]

He received budding artists in his home for evenings of communal drawing and study of classical mythology. After the iconoclasm of the Calvinists, religious themes had gone out of fashion and mythology had become popular. However, few painters could afford a trip to Italy such as the one that van Mander had undertaken. His purpose was to educate young painters in the proper artistic techniques. He was a firm believer in the hierarchy of genres. It was his firm belief that only through proper study of existing works it was possible to realize true-to-life historical allegories.

His own works included mannerist mythological subjects, but also portraits and genre paintings influenced by Pieter Bruegel the Elder, such as the Kermis in the Hermitage Museum. Relatively few paintings by him survive.

Writings

Landscape with snow and the Crucifixion, 1599, Private Collection
As a writer van Mander worked in various genres: drama, poetry, songs, biography and art theory. He also translated classical literature. His literary production reflects the two sides of his intellectual and spiritual interests: the humanism of the Renaissance and the religious convictions of a pious mennonite.[7] His earliest works were biblical plays that he wrote while still in Flanders. These have not been preserved.

His first spiritual writings are contained in De Gulden Harpe, published in 1597. This poetry volume consists of rather longwinded versification of biblical stories that were intended to educate readers with biblical words. His style developed under the influence of his translation (from the French) of classical literature such as the Iliad and, in particular, the Bucolica en Georgica of Virgil. He abandoned the heavy style of the rhetoricians for the jambs of Virgil in his bundle of spiritual songs published in 1613 after his death under the title Bethlehem dat is het Broodhuys.[8]

Schilder-boeck
Main article: Schilder-boeck

Crossing the Jordan, 1605, Museum Boijmans Van Beuningen, Rotterdam
Karel van Mander's Schilder-boeck, written in 17th century Dutch and published in Haarlem in 1604 by Passchier van Wesbusch, describes the life and work of more than 250 painters, both historical and contemporary, and explains contemporary art theory for aspiring painters. During his travels and stay in Italy, van Mander had read and was influenced by Giorgio Vasari's famous biographical accounts of painters in his book Lives of the Most Excellent Painters, Sculptors, and Architects, often referred to as the Vite. It was published in 1550 and republished in 1568 with woodcuts, which is the version van Mander probably studied. He set about translating this work into Dutch and it was during this project that he was offered the commission to inventory Haarlem's art collection, a job that resulted in the chapters of his book on Early Netherlandish painters. In both books, the lives of the painters are told in the standard "Vita di ..." manner of Catholic saints, extolling the virtues of the painters one by one in several chapters. In van Mander's book many entries on Italian painters were simply translated or adapted from the Italian Vite, but the biographical details on early Netherlandish painters and, in particular the Haarlem painters, are unique and gathered during van Mander's commission.

Karel van Mander's book also contains an interpretation of the stories in Ovid's Metamorphoses. This was meant as an aid to artists who wished to paint mythological themes rather than religious ones. Symbolism was very important in painting at the time, and the use of Ovid's characters, combined with the proper use of artistic symbolism allowed the artist to tell a specific story. The last chapter of the Schilder-Boeck describes the meaning of animals and other figures.

Legacy

The Massacre of the Innocents (1600), Hermitage Museum
Van Mander was the master of Frans Hals. Frans Hals appears not to have shared van Mander's view that history painting was the highest in the hierarchy of genres since Frans Hals produced almost solely portrait paintings.

The Schilder-Boeck introduced Dutch artists to Italian art and encouraged them to travel, if not follow the book's instructions on Italian painting methods. Aside from his son Karel van Mander the Younger and Frans Hals, his registered pupils were Cornelis Engelsz, Everard Crynsz van der Maes, Jacobus Martens (landscape painter and father of the painter Jan Martszen de Jonge), Jacob Martsen (genre painter), Jacob van Musscher, Hendrik Gerritsz Pot and Fran;ois Venant.[2]

Van Mander was further influential on art writing in the seventeenth and eighteenth centuries. Cornelis de Bie (Gulden Cabinet, 1662), Joachim von Sandrart (Teutsche Akademie, 1675), Filippo Baldinucci (Notizie de' Professori, 1681), and Arnold Houbraken (Schouburg, 1720) are some of the early biographers who used material from his Schilder-boeck for their biographical sketches of Netherlandish painters. His book is still the most-cited primary source in biographical accounts of the lives of many artists he included. Of most interest to art historians is his criticism of the work of these artists, especially when he describes the location and owner of the paintings, thus becoming a valuable source for art provenance. The Schilder-boeck is part of the Basic Library of Dutch Literature, which contains the 1000 most important works in Dutch literature from the Middle Ages to today.[9]

Public Collections
Museum Boijmans Van Beuningen, Rotterdam[10]
Rijksmuseum Amsterdam[11]
Literary works
De harpe, oft des herten snarenspel (?)
Het Herder Pijpken (?)
Dat hooghe liedt Salomo, met noch andere gheestelycke liedekens (1595)
Bucolica en Georgica, dat is, Ossen-stal en Landt-werck (1597)
De harpe, oft des herten snarenspel (1599)
De kerck der deucht (1600)
Een schriftuerlijck Liedeken van Jephtah. Op de wijse (1600)
History-Lied van den Ouden Tobias. Op de wijse Venus der minnen Godinnen (1600)
Het Herder Pijpken (1603)
Het schilder-boeck (1604)
Olijfbergh ofte po;ma van den laetsten dagh (1609)
Den Nederduytschen Helicon (1610)
De eerste XII boecken vande Ilyadas (1611)
Bethlehem dat is het Broodhuys (1613)
De gulden harpe, inhoudende al de geestelijcke liedekens (1613)
Bethlehem dat is het Broodhuys (1627)
De gulden harpe, inhoudende al de liedekens, die voor desen by K.V.M. gemaeckt, ende in verscheyden Boecxkens uyt-ghegaen zijn (1627)
References
 Alternative name spellings: Carel van Mandere, Karel Van Mander and Carel Van Mander
 Karel van Mander at the Netherlands Institute for Art History
 Painting in the Dutch Golden Age - A Profile of the Seventeenth Century, National Gallery of Art, 2007, p. 119
 H. Duits, 'Het leven van Karel van Mander. Kunstenaarsleven of schrijversbiografie?', De zeventiende eeuw 9 (1993), nr. 2, pp. 117–136
 David A. Shank, 'Karel Van Mander's Mennonite Roots in Flanders', Mennonite Quarterly Review, Vol. 79, No. 2
 The artful image: the Haarlem mannerists 1580-1600 Archived 23 September 2015 at the Wayback Machine on Codart
 Karel van Mander in: Marijke Spies, Ton van Strien and Henk Duits, 'Amsterdam University Press Rhetoric Rhetoricians and Poets, Studies in Renaissance Poetry and Poetics, 1999, pp. 93–97
 Karel van Mander in: K. ter Laan, 'Letterkundig woordenboek voor Noord en Zuid', G.B. van Goor Zonen's Uitgeversmaatschappij, Den Haag / Djakarta 1952 (tweede druk), pp. 329–330
 Website of the Basic Library of the dbnl, the section on the Golden Age (in Dutch)
 Collection Museum Boijmans Van Beuningen
 Collection Rijksmuseum
Further reading
Walter S. Melion, Shaping the Netherlandish Canon: Karel Van Mander's Schilder-Boeck, University of Chicago Press, 1991
Hessel Miedema, The Lives of the illustrious Netherlandish and German painters, from the first edition of the Schilder-boeck (1603–1604), preceded by the lineage, circumstances and place of birth, life and ..., from the second edition of the Schilder-boeck (1616–1618), Soest: Davaco, 1994-1997.
External links
 Media related to Karel van Mander (I) at Wikimedia Commons
The Schilderboeck in the Digitale Bibliotheek der Nederlandse Letteren (DBNL, "Digital Library of Dutch Literature")
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